Friday, June 29, 2012

It's rare to find a good funeral doom metal band from the states. Fortunately I've come across an awesome band by the name Aldebaran. They released an EP in 2011, entitled "Buried Beneath Aeons." The EP consists of only one track but don't think that it's a quick listen. Besides the fact that it's funeral doom with ridiculously slow tempos, the one track runs for over 27 minutes long.

"Buried Beneath Aeons" starts out with mellow strumming guitars with barely any distortion on them. The slows riffs linger with reverb effects giving a dark and atmospheric tone. Gentle drum patterns slowly enter about three minutes in. Light cymbals splash in the background as kicks and snares go back and forth in a very depressive tempo. The track starts to get heavier about four and a half minutes in as more aggressive distorted guitars come in blaring monstrous chords in the background. Meanwhile the vocals step in with a deep demonic growl holding long notes in a very slow speed. The drums also begin to get more aggressive as they start to produce more detail fills and louder cymbals and snares.

The track starts to change up about 12 minutes in as thumping toms and snares march through the blaring distortion. The guitar riffs deliver a more sinister melody as the track gets darker and darker. The growls come back in the second half of the song and display a more constant delivery. At this point distorted guitars are everywhere, blasting wicked chords and devilish melodies. The drums continue to pound you into the ground with their detailed rolls and snapping snares. The cymbals become more and more relentless as they light up the background shattering left and right. The tempo starts to pick up about 20 minutes in as double bass pedals come rumbling in with thunderous beats. Meanwhile the the vocals just keep at it ripping right through you lyric after lyric. The track calms down towards the last few minutes of the song with light bass and guitar riffs. Toms are at a constant rumble with light shimmering cymbals floating in the background. The song slowly fades to an end. This is where you quickly jump to the replay button.

Aldebaran has clearly put a lot of work into this EP. The song structure is unique and complex keeping you glued to your speakers the entire time. The vocals were delivered perfectly and were well produced. If you're looking for some new funeral doom metal than definitely take some time and check this EP out.

Thursday, June 28, 2012

Take a good, long look at the album artwork to "Shame On Us All," the new album by St. Louis three piece The Lion's Daughter, and you won't have any doubt of what you are getting yourself into. This isn't a cookie cutter pop album, or the next installment of smooth R&B. This sludge covered, blackened death machine haven't come to whisper sweet nothings in your ear. They would much rather destroy your eardrums with a crushing blend of screams and overwhelmingly heavy instrumentals. Through eight tracks, these three men may have grown adults looking for monsters under the bed.

This isn't a subtle offering by any means, as the early moments of "Eaters Of The Sun" will prove. Instead, you are immediately pummeled by a tidal wave of guitars, bass, drums and harsh vocals. No waiting for the hammer to drop, no wondering what kind of album you've gotten your grubby mitts on. The deathly vocal lines may be enough to coax the shit right out of you. If not, the thunderous low end will surely do the trick. The outro, which doubles as a breakdown, is just plain scary. Wasting no time, "Deadbeat At Dawn" continues the gang beat down you already began. It's the small touches that make this track special, mainly in the guitar riffs. Whether they are darting out on their own, or tangled in the murky web of the bass line, they feel like hands around your throat, choking the air from your lungs. Oh, and "fuck you too."

You definitely get the black metal tone in "Heavenless, Far From Earth," both in the sheer speed of the drumming, and in the raw mixing quality. Vocalist Rick Giordano isn't one to lull you to sleep with a dreamy melody, when he could just as effectively pound your skull to a pulp with his fear inspiring screams. A slower, downtempo section emerges, surprisingly, changing the entire mood of the track, with rolling drums filling most of the void. Drummer Erik Ramsier pounds you with snares and toms, and Giordano passes his pain along to you with every word. Despite the fact that "The Signal Was Lost" comes in with a more restrained approach, don't be fooled. The feedback and pulsing drums are merely a vessel for the next track, "World Ender: Buried In Dust." The blackened death metal sound has come full force here, with every moving piece locking together in a brutal sweep of riffs and rage. A murky assault of distorted chords follows, with vocals that seem to get more abusive as they go on.

If you thought you had heard the heaviest this three piece has to offer already, you were sorely mistaken. The four minute topping "Shifter" is mind blowing in its density, packing more punch in every note than you could have imagined. Something to take notice of is the way they manage to give you more of what you want, that being heavy handed instrumentals, without sacrificing the songwriting process. This isn't just repetitive chords and cliche drumming. There are clearly defined melodies, for lack of a better word, that bassist Scott Fogelbach leads with grace. In a devilish game of "peek-a-boo," the band starts their version of the Nine Inch Nails song "Mr. Self Destruct" with feedback and a drum beat, before screaming directly in your face. They make the song their own, but in a way that would make Mr. Reznor proud. The longest track on the album is the closer, "The Bringers Of Shame." Coincidentally, it is the most complete offering as well, with each instrument coming through with a clarity that only increases their strength. Through the bevy of double kicks and piercing snares, Giordano shakes your very skeleton in ways that may leave you frightened long after the music has faded away. There is a distinct possibility that he is the monster that has been hiding under your bed all these years.

We often ask, rhetorically, what they put in the water in various cities that makes their men so big, their women so beautiful, or their kids so stupid. But never have we asked that question of St Louis, in reference to how their metal got so damn nasty. The Lion's Daughter, along with fellow St. Louis sludge lords Fister, are starting to give cause for concern, that the home of The Gateway Arch may be the last place you ever visit. The frighteningly good, yet wholly punishing, tracks on "Shame On Us All" have left me feeling one thing. If this is what the lion's roar sounds like, I am not going anywhere near him... or his daughter.

Wednesday, June 27, 2012

I was immediately hooked when I first saw the album art work of Sinister Frost's new album, entitled "Cryotorment." And it turns out that this album had a lot more to offer than just a gorgeous cover. This symphonic metal band from the Russian Federation has some incredibly dark and ominous riffs and vocals that is sure to blow your mind. On the other had, they also deliver some beautiful orchestration and piano riffs that will sweep you off your feet.

The album starts with eerie sound effects and haunting keyboards that surround you with dark images in "Cryotorment." This gloomy intro carries you right into "Mystery Of Sinister Forest." Orchestrated instruments fade in as they are quickly taken over by a deep demonic growl that'll make you shit yourself. Meanwhile jack hammering double bass pedals blat away with wicked speed. Snare rolls are relentless as violent cymbals shatter in the background. The vocals deliver a solid death metal tone throughout the track. Aggressive riffs take over the background with wild melodic notes while keyboards stay busy with gorgeous sounds. The bridge has a powerful breakdown that throws galloping guitar riffs at you wave after wave completely knocking you off your seat. The structure is refreshing as it is constantly surprising you with new melodies and tempos.

"Nightmare" comes in with dark and beautiful acoustic riffs that are followed with angelic strings that float gently in the background. The vocals enter with a very mono tone clean vocal that bring a strong deathly feeling to the mix. Ravishing keyboards keep the track moving with their calm melodies. Later you're hit with monstrous growling vocals that include a pick up in speed for the kicks and snares. The drums start to throw complex fills at you that will absolutely blow your mind. Meanwhile fast pace guitar riffs come through and completely destroy you. Towards the middle of the track you'll come across a folk like melody played by a keyboard that really catches you off guard. It would be perfect if they played it with a fiddle or violin of some sort instead. It would add a very strong folky tone to the album. Some of the guitar riffs do start to pick up towards the end with more up beat tempos and melodies making you want to get up a mosh away until your feet bleed.

The band displays a very interesting mix of sounds in "Vicar Of God Of The Death." The first minute alone will have you hooked and begging for more. Ravishing piano riffs fly into the air with soothing string in the background. In between they add a few futuristic sound effects to the instruments panning the sounds from all directions. A deep chugging guitar soon comes blaring into the picture as the piano continues to hypnotize you deeper into the track. Then, when you're not looking, monstrous death metal growls come roaring in with overwhelming energy. You'll definitely want to have your devil horns up in the air for this one. The track runs for over eight minutes long giving you plenty of time to become obsessed.

"Gomorrah And Sodom" is broken up into two parts making these the last two tracks on the album. Part I is about four minutes long and does waste anytime. Chugging guitars toss you left and right as fast pace growls rush in completely beating you into the ground with relentless lyrics. It's galloping guitar patterns will have your blood pumping as you find yourself bobbing your head to the beat. Part II slows the tempo down with a simple drum beat and angelic piano riffs that'll absolutely take you breath away. The only thing that it could use to really put it over the top is a gorgeous female vocal. The beastly growls do the job none the less. The guitars give you all the melody you need to provide both depressive and aggressive tones.

"Cryotorment" really changes up between each track showing dark and light sides. Sinister Frost really mastered the whole beauty and the beast sound. Each song is well composed and gives you a little bit of everything that your looking for in a symphonic metal band. The only problem I had with the album is that I wish it were longer. The six tracks will leave you wanting so much more. Better jump to that repeat button!

Tuesday, June 26, 2012

The music industry is always doomed to repeat itself. Every artist, every sound, will ultimately come back repackaged, with a new name attached. Yes, that means you, Lady Gaga. But while most of these retro acts are simply pandering, some bring back and old style with a new hook. Houston's From Beyond are poised to bring metal back to the days of yore with their own take on psychedelic doom. On their new EP, "One Year," you will almost certainly hear shades of the past hidden in the dark corners of each track. But unlike their peers, you will never question for a minute whether this music is real, or just a throwback.

As the volume increases on "Evil (From Beyond)," there is a classic metal sound to it all, with the influence of Blue Cheer readily apparent in the building chords. Even the vocal lines have a retro tone, embodying a more bluesy style than most contemporary doom can usually muster. Through the course of a solid guitar groove, and right on down into the slower breakdown portion, all of the pieces fall into line, both sonically and in the mix. But the true psychedelia comes into play on the following track, the colorful "The Heavy Wait." Somewhere in that wave of cymbal crashes, the band find their place, a sound that is as much their own as it is an homage to those who came before. Because in this six minute piece, you have a concentrate of all things heavy. Alternating waves of fast paced riffs and down tempo chugging are the norm, but the blasting drums manage to tie them all together with deft hands.

The strongest vocal performance comes in the form of the song "Warhorse," seeing a layered vocal melody resting atop a groove laden bass line. This is the one that will get your head moving to the beat, the constant patter of snares and toms. And while this may be the most accessible and stripped down track to be had, that is by no means an indictment of it. Instead, it speaks to the quality of the writing process. As the impending solo hits, you feel like you have gone back in time to experience the earliest days of metal, all with the production and mix of modern technology. The final chord echos, rolling directly into the title track, which begins as cool as the proverbial cucumber. A trembling vocal is so welcome, all leading up to the chorus blasting ahead. The verse is down and blue, reminiscent of Black Sabbath in their prime, while the chorus is that wave of distortion that carries you on its back. The latter half of the track is just plain heavy, with a weight of dirty guitars, bass, and drums that will bring you to your knees.

We all know that music is not a linear art form, but rather it is cyclical. The old styles will always find their way back, in the form of retro outfits. To be clear, From Beyond is not one of those acts. This isn't a four track EP of hero worship and grand theft audio. You get so much more than a new wave of old school psychedelic doom; you find a band ripe with their own ideas of what this music is, and can be. So while you hear their influences woven throughout, there is never a moment where you think, "these guys just want to sound like Sabbath or Floyd." This is the next generation of the genre, and "One Year" is a good place to start.

Monday, June 25, 2012

Coming from the darkest shadows of France comes a band by the name of Merrimack. This black metal band has really stepped into the metal world with their new album, entitled "The Acausal Mass." Spreading their dark messages to the world, the band delivers nine overwhelming tracks that are full of passion and rage. Each song plays a major part in the album and flows well into the next.

Opening with a short intro by the name of "Vestals Of Descending Light," the album quickly jumps into the second track, entitled "Arousing Wombs In Nine Angles Pleroma." Wicked black metal screeching pours into your speakers with wretched tones and an evil delivery. Dark melodic guitars fill the air with haunting riffs and complex drum patterns that switch from slow thumping kicks and snares to relentless beatings of non stop double bass pedals and detailed snare rolls that will absolutely blow your mind. The drums will have you throwing up your devil horns and bashing your head to the beat. "Gospel Of The Void" continues with monstrous distorted guitars with dark and yet catchy riffs that'll have you jamming along in no time. The vocals come through and rip you to shreds with their demonic screams and growls. The drums show off tremendous talent as ridiculous double bass pedal drums rumble heavily beneath you. A dark guitar solo fades in through the middle of the song as the vocals continue shouting in the background. Wild notes are thrown in all directions as more reckless cymbals crash violently in the background. You can definitely feel a lot of dark emotions through this beast of a track.

Songs like "Hypophanie" and "Worms In The Divine Intestine" show a lot of detail in their music. Both songs start out painting a dark image with mellow instruments and demonic tones. They slowly pick up speed with detailed drum rolls and and fast pace double bass pedals. The guitars go back and forth between dark and gloomy to a fast beat down of devilish riffs. The complex structure of the tracks keeps you at the edge of your seat at all times. You never know what they're going to throw at you next.

The final track, entitled "Liminal Matter Corruption," runs for over eight minutes long and is a must hear track. They put many different elements into the track that really keep you hooked the entire time. The drums keep a constant flow of double bass drumming through most of the track leaving you no time to breath. The vocals are constantly pounding you into the ground with devilish lyrics and an ominous delivery. The structure of the track constantly changes throughout the song as if you were listening to a few tracks at once. You'll come across a few melodies that are demonic and yet very catchy at the same time. Overall the song becomes very addicting and will have you hitting the replay button right away.

Merrimack has only been around for a couple of years and already they are making a huge impact in the metal industry. "The Acausal Mass" is well balanced between melodic guitars, exploding drum fills, and punishing vocals. It's definitely an album that you can sit through the whole thing and want to hear again and again. Make sure you take some time to check it out.

Sunday, June 24, 2012

This one might as well be called "The Blooper Reel, Darrell Edition" folks, because Justin took a lot of time and care in cutting together some of Darrell's worst recorded moments. from botched interview questions to mispronouncing the names of band members, this one has it all. Even the possibility of sexual harassment...

Friday, June 22, 2012

Stop me if this sounds familiar. A one man instrumental progressive metal outfit, started by a guitar wiz in a faraway place. Something there might ring a bell, but I assure you, this isn't Australian Sam Locke. Ryuki Akira is the face, and the hands, of UK based I AM Nimdok, a relatively new act with infinite potential and limitless talent. With a mere two EPs under his belt this year alone, Akira is poised to release the third, a two track offering titled "Leviathan," which is, of course, not to be confused with the Mastodon album of the same name. But in this fifteen minute span, this guitarist and beat maker gives you something to cheer, and something to ponder.

With a spoken word intro, the title track eases into being. Drums pound into frame, turning the speech into a call to action, as synths build over it all. As the words come to a close, the true explosion begins. But somewhere between the crushing djent riffs and the hammering drums, comes a wave of house electronics that aren't wholly out of place, but don't exactly fit the formula either. Undeniably, there is an airy, dream like quality to the composition. The downside lies in the mix, where the mechanical takes precedent over the industrial far too often, leaving the guitar work flailing in the background. There are even times when addition pieces of orchestration are layered in, which leaves things feeling cramped.

The shining moments come in waves, when the guitars and drums hammer away at your ear drums, with a haunting layer of synths and keys adding accents. As the distortion fades, and a light piano interlude emerges, you may feel slightly lost, adrift on a sea of new age sounds and structures. But perhaps it is the somber keys that sprout a hell raising guitar solo, the first appearance of anything more than chugging riffs. But the elements absent from the first eleven minutes come roaring back in the final three, giving you a down tuned assault of dense chords.

The far more virtuosic "Shake Shake: The Ballad Of Marina Liteyears" may be what you would have expected all along, with darting guitars riffs taking hold of the track very early on. Programmed double kicks roll in and out of frame, joined by sliding guitars and intricate fret work. Akira finds his stride in these short bursts, giving you equal parts musicianship and aggression. What he manages to do in the course of a mere three and a half minutes is impressive, folding in doses of synths, ones that elevate the track rather than detract from the overall sound. His guitar is in perfect sync with the drums, computerized though they may be, so much so that they join together in a heavy breakdown moments before the song comes to a close.

This is not an EP that you can listen to once and claim to love, or hate for that matter. Ryuki Akira clearly has some big ideas for this project. The fact is that there are simply too many moving pieces to dissect and enjoy in one sitting. Whether or not that is a pro or a con, is completely up to your ear. You may prefer the overzealous first track, one that could be considered cluttered and messy, or maybe the more mature, and much shorter, second track, focused and intricate. What happens when the music stops is what may leave you with a lot to think about. With two tracks that are so different in sound and scope, it begs the question, "What kind of metal fan am I?"

Thursday, June 21, 2012

Being the best at your craft is an honor that few can list on their resume. When it comes to the world of extreme metal, no one has a more valid claim to that position than Norwegian multi-instrumentalist Ihsahn. Through his time with Emperor, and on into his successful solo career, he has managed to redefine the boundaries of progressive metal. On “Eremita,” his fourth solo album, Ihsahn picks up where his last effort, “After,“ left off. He continues to fuse styles into one massive entity, one that is sure to keep the most finicky metal fan happy.

The opening track, “Arrival,” is exactly that, a landing spot. Darting guitars and the pounding of drums greet you, followed shortly after by the hugely abrasive voice of Ihsahn himself. His voice embodies all of the grit and rage of black metal, but with a finesse that makes it all the more accessible. To offset he heavier passages, he enlisted Einar Solberg to provide the more sullen, clean vocals. What you find is the ability to move back and forth across that thin line between grace and grime, beauty and beast. As always, the musicianship here is excellent, switching seamlessly between pulsing blast beats and blistering guitar work. And, as if the hammer hadn’t been dropped already, “The Paranoid” takes things to a new level of heavy. The drums are unrestrained, filling every miniscule gap with thunderous kicks and snares. The touches of melody scattered throughout are perfect, both in instrumental and vocal form. And despite getting so little credit for his songwriting ability, Ihsahn brings some well written lyrics to the party here, laying down the cyclical “The shame feeds the anger, feeds the shame, feeds the anger, feeds the shame.” Slight electronic influences in the outro bring the track to a fitting close.

Without missing a beat, he rolls directly into “Introspection,” a fitting title for a track that embodies all of his melodic sensibilities in one six minute opus. The tone of his clean vocals carries the weight of sadness, while his harsh vocals bring a more emotional edge. With an assist from Devin Townsend on vocal duties, they blaze through verse and chorus over and over, all the while sitting atop a bed of double kicks and ripping guitar work. Every guitar riff manages to be powerful and consistent, without ever being overbearing or overdone. Even the most simple chord change is aptly delivered. The first true appearance of that signature jazz fusion comes in “The Eagle And The Snake,” with saxophonist Jorgen Munkeby flexing his muscle in lead and rhythm form. The winding guitars twist and turn, becoming tangled in the web of sax and percussion. Anyone familiar with the previous Ihsahn efforts can sense what comes next, as Munkeby’s sax squeals and wails over a foundation of drums, bass, and guitars. Don’t think for a second that you won’t be bombarded with the guitar work you know and love. Rather you get a dual lead, woodwind and string, playing off of one another. There is something overtly dark and epic about this track, something that plays out perfectly in its nearly nine minute frame.

The way the saxophone initiates the melody on “Catharsis” is proof positive that this particular fusion is well worth the attention to detail. Ihsahn has a voice that works in the most raucous of musical settings, but also commands the more laidback and subdued areas. A silky smooth bass line accompanies light guitar picking, with only a light patter of drums beneath it all. The soul in the vocal carries the track from start to finish, with bursts of distorted guitar padding things out in the second half. Without warning, “Something Out There” roars into action, with a devastating bit of drumming smashing the walls. The black metal influence shines through, but with a more melodic, progressive format. In tracks like this one, the common misconception of coarse vocals being unintelligible is shattered, with each screaming lyrics coming through with crystal clarity. Airy keyboards add an additional layer to the guitar melody, adding a richness to the mix. And with a style that is both unique and impressive, Ihsahn delivers a dueling guitar solo that sends things into a roaring fire. The aforementioned keys return in force in the interlude track, “Grief.” With the synthesizers joining the low chords of a piano and some horns, you have a track that is both ominous and emotional.

With relative ease, you transition into “The Grave,” boasting a screaming saxophone intro that quickly hands the baton to a harsh vocal. Each crashing cymbal draws you farther into the darkness, while every kick knocks you back. Somehow, there is a balance of sound, one that stays consistent throughout, not wavering or faltering with the passing of time. The opening minutes are so simplistic in their delivery, minus the virtuosic saxophone performance of course, but not at all wasted. What you experience is a controlled chaos at times, one that seems to find its way back to civilization before too long, with the aid of some chanting and wildly imaginative drum patterns. For a finale, “Departure” works on so many levels. The cinematic feel of the opening seems to be the proper way to begin to tie the story together. As the pounding of drums enter, you start to sense something bigger coming your way. And, without fail, that something comes in the form of a massive explosion of distortion and percussion. But when you think you are destined for one, long slaughterhouse of metal, things are dialed back, and you are treated to a subtly beautiful interlude of sorts, one that could be compared to the crooning styles of Las Vegas. Everything you love about this music, and this musician, is all present here, giving you every reason to stand, cheer, pump your fist, and hang your head.

It would seem that, after four solo albums, Ihsahn can do no wrong. Everything the man touches turns to gold. And the beauty of it all is that he continues to evolve his sound, expanding on the ideas of one album, and turning it into an entirely new piece of work. Yes, you can easily tell that the man you hear on these nine songs is the same man that wrote “Adversary,” “Angl” and “After.” He didn’t abandon those concepts and become something altogether new. But it would be impossible to confuse any of those efforts with this one. “Eremita” is heavier, grittier, and more refined. There are key differences to hear and celebrate. After all, this album doesn’t even begin with the letter “a”.

Wednesday, June 20, 2012

The death metal band Tormented is looking to shake things up with their new EP, entitled "Graveyard Lust." It contains six full tracks of beastly guitar riffs and monstrous drum fills. The quality of the instruments are good but the one thing that makes this EP a rocky rollercoaster is the vocals and the mix of the vocals. Some of it's fine but most of it is not.

The opening track starts out with eerie acoustic guitars that quickly turn into raging distorted riffs blasting violent chugging patterns. The drums kick in along with the vocals which start out with a light filter on it. The vocals are delivered in a shouting tone with fast aggression. Relentless snares pound away while cymbals shatter high in the background. They use a couple of delay effects on the vocals at random times that don't really seem to fit well. I guess after a while you get used to it. They keep the filter on the vocals throughout the entire song giving it a weaker sound to the mix. If they used it once or twice then that would sound fine but using it the whole track is a little too much. "Revel In Blood" uses similar tones with the guitars as monstrous riffs stomp all over you. The drum fills are absolutely insane with wicked double bass pedals rumbling violently underneath you while detailed toms and snares wrap circles around you. Cymbals continue to crash relentlessly forcing you to get into a moshing mood. The vocals however don't really get any better. It seems that all of their mixes use this nasty filter on the vocals that really just takes away from the music. On top of that, the vocal deliver is a completely rip off of Slayers "Reign In Blood." The way those lyrics echo into the air sounds exactly the same. He might as well be screaming "reign" instead of "revel." If I wanted to listen to Slayer I will just play Slayer.

"Sacrifice The Dead" starts out with punishing guitar riffs that completely beat you into the ground with vicious melodies. The distortion is pretty wild. The vocals however again go straight to the same delivery and same sound effects. It really gets old after a while. It all starts to sound the same. Just a plan boring mono tone voice shouting away. "Horror Of The Faceless Dead" starts out with a powerful bang of quick melodic guitar riffs and insane drum rolls with non stop cymbal smashing and thunderous kick drums. Once the vocals step in it's all down hill from there. It almost sounds like you just listened to the first track six times in a row. They need to do something with these vocals desperately.

For a band coming out of Sweden, I expected a lot more from Tormented. But then again there's gotta be disappointing bands out there to the good bands shining. Musically the band has a lot of potential but they need to get a little more creative with their vocals. Hearing the same tone over and over again can really fatigue the human ear. Hopefully this EP taught them a few things and now they can go back a fix the problems before an album is released.

Tuesday, June 19, 2012

I haven't come across too many metal bands from Syria until today. The funeral doom metal band Innzmouth has recently released their new album, entitled "Lovecraft's Dreams." The album contains a total of five tracks. It's depressive tempos put you in the mood for some dark and devilish funeral doom.

The intro, "Estoric Order Of Dagon," opens the album with a one minute babble of guitar riffs that are layered over each other in an off timing sound. This leads you right into the eerie guitars of "Lovecraft's Dreams." Haunting keyboards fill the air with dark melodies as you run right into deep chugging guitar riffs that completely take over the background. The lead guitar is full of wretched distortion that makes you flinch with its ominous tones. The tempo stays slow as a devilish growl comes in and knocks you out of your chair. More evil keyboards follow the growls as they float lightly in the background. This eight minute track definitely has some potential with its devilish melodies and gloomy sound effects. It definitely paints a funeral metal type of sound.

The third track, entitled "The Voyage," has the album move even slower with its delayed drum rolls and cymbals that crash heavily in a very depressing speed. More screechy guitar riffs take over in the beginning with wicked melodies and screaming distortion. The vocals switch between monstrous growls to higher black metal screams. The delivery is fantastic. The song structure itself could use a little more creativity. A lot of the song is the same riff over and over again and it starts to put you to sleep about three minutes into it. Keep in mind that this track runs for over 11 minutes long. It begins to change a little more as you move further into the track. The vocals are what really keep the track interesting. The wicked black metal screaming sound awesome and really send chills down your spine. One instrument you'll really start to notice towards the end of the track is the bass. Its depressive bass lines will have you drowning in its sorrow.

"Requiem" is the fourth track on the album and runs for over nine minutes long. The first minute is all orchestral strings that play a dark and gorgeous melody. This leads into muddy guitar riffs with high distortion effects on them. The low quality gives it that classic black metal sound. The kick and snare drum, however come out muffled as well only in a bad way. Its unclear patterns are a major turn off to the album. The drums were descent in all of the other tracks so I'm not sure what they were going for when they recorded this album. You may have a difficult time getting through this last track. The quality really takes away from the song altogether.

With a short intro and outro, "Lovecraft's Dreams" is really only three solid tracks. It still comes out to about 30 minutes total which is just about right for a three track funeral doom metal album. They album had a lot of potential with the instrumentation and vocals however that fourth track really took a dip in the end. Check out the second and third track if you get a chance but I wouldn't waste any time on the rest though.

Monday, June 18, 2012

Ah, Texas. The home of the death penalty, oil tycoons, and larger than life attitude. Then there's Suffer The Silence, a death/doom band from Laredo, who are struggling to find their voice in the ever-improving American metal scene. Formed in 2005 by brothers Rafael and Marcus Guerra, this two (and sometimes three) piece band haven't quite got their collective finger on the pulse of the genre. What they possess in desire, they lack in core production values and mid level writing skill. On their new album, "Good Mourning," they ramble and meander through five tracks that just don't seem to have any point.

A sweetly played acoustic guitar opens "Somewhere," joined soon by a painfully slow drum beat, and the cry of an electric guitar. With each passing tom and snare, the track builds an atmospheric quality, a light haze that coats everything. But as the vocals enter, the mix comes into question, with the music itself overpowering the screams of Marcus Guerra. The softly spoken vocals don't suffer the same fate, as they create an eerie tone to the measures that follow. But as the music explodes again, the harsh vocals are pushed to the back of the line. The individual pieces have a hard time shining through with any power, as the mix drains the emotion and energy from the instrumental. If you look past the glaring technical errors to the core of the song itself, you find an explosive piece of work, from the punch of the drums, down to the airy guitar work. With each passing second, you begin to lose track of the production, and hone in on each separate string, each singular drum hit.

Lightly entwined guitar parts form the opening for "Elsewhere," with small additions coming over the course of the four minute duration. As an interlude of sorts, this is a success, albeit one of massive length. It would have been just as effective as a two minute piece, if not moreso. It leads directly into"Not Here," which itself begins with an acoustic intro. The understated beginning now make the previous track feel wholly unnecessary, as it were. What builds from that beginning is a piece of music that could be classified as "post doom" at times, before the main chunk begins. Unfortunately, the hoarse vocals get buried in a sea of guitars and drums, as you struggled to feel their impact. The uneven nature of the production creates so many sound issues, especially in the more dense moments here, with only the guitars managing to come through with any sort of clarity. While the drums peak through time and again, they are left feeling jumbled and random. And for a track that stretches over that magical ten minute mark, it becomes very hard to sort it all out by tracks end.

Following the previous formula, "Nowhere" takes the interlude notion to the extreme. While this particular installment does contain a rather harsh and aggressive portion towards the end, it really serves as a drawn out break between epic tracks, building on the same clean acoustics, step by step. Each addition to the mix seems to turn the volume and intensity up by one notch, but never enough to feel it in your chest. And the aptly titled "Never" closes things out, while simultaneously living up to its name. It never quite gets the momentum going again, with sparse waves of guitars and rolling drums leaving too many gaps in the early going to recover from. Repeated chords and drum pattern are about all you are left with, cover in the slimy ooze of poorly mixed harsh vocals. This is not to say there aren't bright spots to be found. Small doses of heavy, yet melodic guitar work do shine through the clouds here and there, giving you something to hang your hat on. But in the scale of a thirteen minute track, there simply isn't enough to make a lasting impression.

It is difficult to call the concept of this album "ambitious," mainly because I am not totally sure if there was a concept at all. Over the course of five tracks and over fifty minutes of music, Suffer The Silence never seem to hit a stride, with sporadic bits of fully fleshed out writing struggling to find a home. And while a bad recording can certainly ruin an album, this one was lacking before anyone ever hit the record button. What is even more troubling is that you never get a clear idea of what comes next. How the band evolves and refines their sound will be key in making the follow up to "Good Mourning" worth the listen. But if anyone can direct them to a good engineer, it couldn't hurt.

Sunday, June 17, 2012

With our Top 10 lists for the first half of the year looming, we decided to take a look back at the lists that ended 2011. How do we feel about the albums we chose, their order, and how much do we listen to them today? I know, you are on the edge of your seat. Check it out, and hear for yourself!

Friday, June 15, 2012

After coming across a band called September Mourning and noticing that they are listed as Gothic Metal, I decided to take a chance... And now I'm regretting it. This "Gothic Metal" band from the USA has recently released their new album, entitled "Melancholia." The front cover caught my eye so i gave it a shot. This was a big mistake.

The album starts with "Go For The Throat" which opens with a female scream as chugging guitar riffs jump in. The verses are filled with clean female vocals that at the time sound decent. Then she starts to scream with this horrible "hardcore" type of screaming that screeches trough the air with terrible tones. The guitars stay pretty basic with a similar riff running throughout the track. They later add a breakdown that has some of the most basic riffs I've ever heard. Also the refrain really aims for radio success. This is where you can really tell the band is from the United States. "A Place To Call Your Own" also leans heavily on a catchy hook with basic melodies and basic drum rolls as female vocals are soaked in reverb effects and heavily layered on top of one another. Meanwhile the verses continue with her wretched screams and aggressive vocals.

Track number three, "Always," is where you'll start to realize that every track sounds the same and has the same exact vocal deliver, guitar patterns, and refrains. All they do is constantly layer the vocals in the chorus and add tons of reverb and delay. The guitars are chugging in the same patterns as they did the first two tracks. "Lost Angel" has some of the most ridiculous lyrics i've ever heard. And the delivery of the melody is just horrible in every way. "It's gonna take a miracle to get the job done," and "I'm sending out an S.O.S. " These lyrics basically repeat throughout the entire track. One thing that you will notice in the background of these lyrics towards the end of the track is a little guitar solo. The only thing is they keep the volume of the solo so low you barely know it's there in the first place. Metal is about wicked solos so why would you cover them up, wicked or not.

"Beyond The Grave" and "Last Embrace" attempt to close the album with a bang but fail as they throw heavily distorted riffs at you but overly repeat them. On top of that, the vocals just sound like wining lyrics at this point. These are just a couple of three minute bullshit tracks that the band tacked on to make their album somewhat full.

After listening this entire album, you would think that the band got together and agreed to take Halestorm vocals and mash them with Of Mice And Men guitar riffs and sound like every other bullshit hardcore emo band that comes out of the United States. It's shitty bands like this that piss me off the most. They purposely aim for radio hits that sound exactly the same as the bullshit hardcore tracks that are already out there. There is no originality in this album. Do not waste your time with September Mourning.

Thursday, June 14, 2012

Out of the ashes of one band, comes another. Comprised of the line-up from now defunct Bad Actor, comes Orlando, Florida's Fire In The Cave. This five piece defies genre tagging, as they walk the thin, blood red line between so many. Harnessing the raw energy of everything from black to psychedelic metal, this is a public service announcement to our countrymen and visitors alike, that Orlando has more to offer the world than Mickey Mouse and friends. On their self titled EP, they give us two reasons to believe that the deep south is far better than once thought.

A constant pounding of the kick drum opens "Civilized Swamp," before things quickly descend into sheer madness. What you come face to face with is an assault of black metal tenets, from machine gun drums to heavily distorted guitars. Vocalist Josh Mazorra screams his way through the early stages, pummeling your ear drums with pure hatred, but not without a rich, poetic quality. Somewhere in that harsh growling voice is a writer that sees beyond the surface effect. The real surprise, however, is how easily the band transition into, and out of, those blackened segments. In a flash, they draw back the hard and heavy, and lay down a more progressive guitar lead, one with character and substance. It's as if the switch is flipped, and they are brutally heavy; it is flipped again, and they put out something cathartic and melodic. This quality keeps you anticipating the next move, leaning in close to your speakers, waiting for the death blow.

Picking up where the opener left off, "Aeden Carr" is the straight punch to the jaw you wanted next. There is a perfect melodic edge to the way the guitars are delivered, especially when combined with a bass line that pokes its head out just enough. All of the pieces meld together nicely, but without giving up the tiny details that stand out for each. Even in the pure blackened death drum rolls, you aren't left to drown in a sea of blast beats, but rather you get to wade into small pools of rolls, riffs, and gritty vocals. Simply by listening, you give the band license to try other things, like the bluesy guitar lead that bursts out around the three minute mark. The soft whispers that follow may lull you into that false sense of security, but you should, by now, know what's coming. A crushing move forward, with Mazorra growling his way into your brain stem. The ferocity of his screams, however, is not the vessel for a song about fucking bitches, or driving fast cars. The lyrical content is there, a delicate balance of commentary and chaos. "With rifles at our backs, we charge onward, toward the sounds of hymnal desolation. These intruders will, soon know the ire of our kin."

There is a ground shaking rumble coming from all over the country, one that has the ability to open up whole cities, and swallow them whole. The new wave of American metal isn't all about how many "cores" you can add into your bio, something Fire In The Cave have proven. This movement is based on diversity and dedication to the craft. Sure, everything has been done before in some configuration or another, but why should that stunt the creativity of the new stars? This is not to say mashing up twenty different styles will always work out, but for this Florida five, it looks like they are on to something big.

Wednesday, June 13, 2012

After finding the unique and talented band Crown I decided to continue my search to see what else France has to offer now a days. Then I came across Embryonic Cells. They list themselves as a mixture of thrash and atmospheric black metal. I'm not sure if I can totally agree with that. Their new album, entitled "The Dread Sentence," displays some interesting melodies and instruments that blend a couple of different genres together. I don't think they're really atmospheric at all though. And their guitar riffs suggest more of a death metal feel.

The album opens with "Fall Is Coming" which is a short minute and a half intro that throws strange and haunting sound effects at you with different keyboards and synths. It definitely displays a very dark image. This leads you right into "I Burn With Life." Killer double bass pedals and melodic chugging guitar riffs rush in completely beating you into the ground. The snares and cymbals are absolutely relentless with booming fills. Constant bass lines rumble beneath you as a wicked scream echoes into the air. After hearing this magnificent scream you would the that the vocals are going to be kick ass. Unfortunately they are not. They sound as if the guy is completely joking and is putting no effort into the lyrics at all. It's a shame because musically the track is excellent. You come across an incredible bridge where the guitars and double bass pedals come together and completely destroy everything in their path. The bass jumps in and out with catchy melodies that'll have you bobbing your head immediately. They even include a monstrous breakdown in the end where everything just comes crushing down on you. excluding the vocals, the track is pretty fucking heavy.

The vocals continue to turn you off in "By Fire." The drums, however, really pick up with more detail and complex rolls that will blow your mind. Meanwhile more blaring guitar riffs chug away sending you right off your feet again. The vocals do change for a brief second as a more demonic growl steps in. It almost sound like Nathan Explosion of Dethklok only not quite as much umph. They include another breakdown that'll definitely destroy some speakers. "I Don't Want To Save This World" still carries most of the bad vocals however some of them in the beginning are not bad. You can definitely tell something has changed in his voice. Eventually he goes back to the bad vocals which continue to put a damper on the album. The track is saved by symphonic keyboards that consume the background of the track and really lift you with its beauty. Also they include some more awesome drum patterns that really break themselves down in the middle of the track where the snares and toms are just going at it with incredible patterns. The instruments definitely make you wanna hit the replay a few times.

The song structure in "Wheel Of Pain" is absolutely phenomenal. It opens with this real dark side to it sending chills down your spine with gloomy keyboards and haunting guitar riffs that chug slowly setting up this eerie depressive tone. The vocals get a step better as they are actually starting to sound like classic black metal screeching. There's definitely a lot of emotion from this masterpiece of a track. And running for over seven minutes long really gives you a satisfying feeling. "Scream Or Die" is another track towards the end of the album that really step things up with both structure and creativity. It also runs for over seven minutes long. The vocals are still boarder line between bad and decent but the guitar riffs and drum rolls keep the track alive. The double bass patterns are incredible. Meanwhile cymbals are constantly crashing in the background giving the track a real violent feel to the mix. The symphonic instruments keep everything in order and lead you through the track perfectly. This is definitely another track that you won't want to miss.

If Embryonic Cells fixed the vocals or even got a new vocalist altogether then the album would easily be a nine out of ten. Unfortunately the vocals really make you step back from this album and may lead you to look at the ban the wrong way. "The Dread Sentence" does have a solid plus side to it though. The album is excellent musically and is well recorded and mixed. Throw in a real black metal vocalist and you've got yourself an album. I would definitely take the time to check it out regardless of its vocal issues. The instruments are just too damn good to miss.

Tuesday, June 12, 2012

It seems amazing that three years have passed since the release of "April Rain," the sophomore album from Dutch melodic metal band Delain. In a period in the music industry where the time you spend between albums often decides how much interest you lose, this five piece were in no rush to complete the follow up. After long, and successful tours all over the world, they set out to create a new album that would not only keep them in the minds of their fans, but take their talents to new levels. Inspired by the story of a British girl, Sophie Lancaster, the album "We Are The Others," and in particular the title track, became an "outsiders anthem," one that the band execute to near perfection.

The sound of a distorted industrial music box opens "Mother Machine," before an explosion of guitars and keys take hold of everything it touches. Sure, there is melody to be had, but don't be fooled into thinking that this female fronted act is soft by any means. Frontwoman Charlotte Wessels is as dynamic as the brightest stars of the genre, giving you grace and range, all with a strength that is hard to match. Paired with guitars that never lack punch, and a keyboard presence that never falters, you have an unbeatable combination. Even when the more simplistic songs come out, as they do on "Electricity," things never feel like they are dumbed down for the audience. There is a frankness, an honesty to the music as well as the lyrical content, one that makes the music easily digestible without being sloppy. Small keyboard and piano touches, courtesy of Martijn Westerholt, do wonders. The aforementioned title track may seem familiar in sound, bearing resemblance to Within Temptation at times. But in this case, the message is firm, and with lyrics given due justice by the voice of Wessels ("Normal is not the norm, it's just a uniform), there is something to enjoy here.

To use the word sultry to describe Wessels crooning style in the early stages of the electronic tinged "Milk And Honey" would not be out of line, as she keeps you focused on every syllable. The true symphonic elements come out so well here, with Westerholt leaving his mark all over the track with synths and keys that seem to be omnipresent. Completed with some slick guitar work, it leads into a song that may fool you at first. Despite what you may think, "Hit Me With Your Best Shot" is not a cover of the Pat Benatar classic. There are little touches that may lead you to believe otherwise, but Delain has crafted something new, if not familiar here. It is fueled by an electronic lead, and driven by a great vocal hook. To that point, the piano/vocal intro to "I Want You" is exactly what makes this band so hard to dislike. Wessels ropes you in with the sorrow in her voice, a deep sadness that permeates the lyrics. Even as the band takes a more minimalist approach in the verse and chorus, she lets her range show, hitting each note so delicately, yet so powerfully. This is a testament to what female fronted metal has to offer the masses.

Adding an unexpected wrinkle to the fold, Fear Factory's Burton C. Bell "Where Is The Blood" shouts his vocals over the top of the chorus, giving you something that is the polar opposite of the norm for Delain. The track as a whole, though, lacks in other departments, with the rest of the band giving a more generic musical backing, the standby chugging riffs for any melodic band. Luckily, a hook in the chorus will keep this one rooted for days ("If I hurt you so much, where's the blood?). A much cleaner, distinguishable band returns on "Generation Me," poking fun at the "me first" nature of the modern world. There isn't anything innovative or new to be had here, but that doesn't make the track any less enjoyable, giving you exactly what you would want and expect, and done well. Throwing in a bit of contrast, "Babylon" sees a more heavy handed approach. A dense opening drum beat paves the way for combination of distorted riffs and airy keyboards. It is a difficult feat to deliver lyrics in an accessible way, even when the subject matter may be slightly down, something Wessels does exceedingly well time and time again.

The final trio may be, arguably, the most memorable chunk of the album. The cold, distance sound to "Are You Done With Me" creates a stirring mood at first, before a massive change greets you in the chorus. The beat turns into an nearly techno one, pulsing and pounding from the drum kit. It is hard to find a victory in the instrumental aspects here, as it seems almost devoid of originality, but the vocals are haunting. Westerholt's impact on the opening to "Get The Devil Out Of Me," in the form of a short piano interlude, set things in motion for a track that is both distinct and strange, all at the same time. Wessels vocal take a bizarre tone here, jumping up the scale at the same beat on every line, something that almost sounds stilted. It is only when the keyboards return to take command of the track, somewhere in the breakdown section, that things gain momentum again. But encapsulated in "Not Enough" is a bevy of time signatures and tempos, all of which are part of the greater whole that is Delain. The space age keys pad out a fitting closer, one that would undoubtedly serve as a great live track.

The major question that seems to be in play is whether or not a band needs to evolve or further develop their sound to stay relevant. Delain are not looking to reinvent the wheel here, instead content to ride it from point a to point b. They do what they do, and they do it well, to paraphrase LL Cool J. So, why change what isn't broken? Sure, they can, at times, fade into the crowded female metal tapestry, losing that sense of uniqueness that is so valuable. But three albums into their career, they have yet to trip, stumble, or fall. Their strength is, and may always be, their consistency. And through that, they can take the outsiders anthems of "We Are The Others" to the masses.

Monday, June 11, 2012

Crown is a very unique band out of France that has a strange mix of dark atmospheric rock and sludge metal. They have just released their new album, entitled "The One." The band uses a lot of different keyboard instruments along with many different settings of distortion on their guitars. The album contains five tracks in which each has its own unique sound and style to it. This definitely keeps you at the edge of your seat as your waiting for what's about to come next.

The opening track, entitled "Cosmogasm," starts off with harsh growls that echo over eerie guitars and atmospheric synths. The distortion effects on the guitar will completely knock you on your ass right from the beginning. Violent snares and cymbals shatter in the background as a booming kick drum rumbles underneath you with a deep punch. The vocals consist of long growls held with a very slow delivery. This five minute track will have you shook with its gloomy sounds and haunting vocals. "The One" follows up with a more melodic guitar riff as a basic kick and snare pattern carry you through the song with an upbeat feel. Multiple guitar riffs layer on top of each other giving off a more detail sound with its catchy melodies. A groovy bass line comes in next following in the same melodic footsteps. The vocals come in with clean singing that contain slow depressive lyrics. You really get a good look at the bass throughout this song as it constantly throws heavy note after heavy note at you. The vocals switch up towards the last two minutes of the song with more echoing growls performed in a devilish way. The track picks up speed and will have you bobbing your head to every beat.

Bone chilling synths start off in "100 Ashes." The keyboards carry a very dark and yet catchy melody as it is covered in reverb and delay effects. The vocals open with a very calm delivery as they hold a very mono tone to the mix. The track is only four minutes long but it holds a very futuristic feel to the album and the melodies are so catchy they'll have you hitting the repeat button for sure. "Mare opens with soft atmospheric guitar riffs and sound effects that paint a very dark and unclear image. After about two minutes of the mellow guitars comes in monstrous chugging guitar riffs that blast chord after chord in you face. The heavy chugging patterns will have you throwing up your devil horns in no time. These vicious riffs are soon accompanied by clean vocals that glide of the other instruments perfectly. They soon witch over to the violent growls in which they really begin to take over the track. Following this seven and a half minute song comes "Orthodox." This is the final track and runs for over nine minutes long. The drums throw massive snares at you while clean eerie vocals take over the verses. Muddy guitar riffs consume the background with messy distortion and atmospheric tones. Later comes a completely different riff that almost makes the song sound like a brand new track. It's futuristic effects carry you to a whole other world as the drums become more detail as they start to throw different patterns at you. Meanwhile cymbals are crashing violently in the background. The instruments in the middle of the track real build up the suspense as your dying to see what comes next. Soon more clean vocals step in with depressive tones that carry you towards the end of the album.

"The One" has a very refreshing sound as well as a creative take on these styles of genres. The album holds a very futuristic sound to it with its dark atmospheric keyboards. The vocals are excellent as they give you both the mellow haunting clean vocals and the demonic growls that run right through you. The album is only five tracks long so you'll definitely be jumping to the repeat button as soon a its over. Definitely check this album out.

Sunday, June 10, 2012

Jellybean, jellybean, jellybean. Last year, when Justin's birthday rolled around, we dedicated an entire episode to his new found love of black metal. Well, fuck that. This year, we are gonna talk about some reviews. Ya know, like always. Justin takes a look back at his reviews of Fear Factory, Candlemass, and Lotus Circle. Two are good, one is not good. Guess which one. Darrell talks Vallendusk, Earthmass, and the debut EP from Deimos. Some good, some great, and some shitty. Damn, metal is awesome.

Saturday, June 9, 2012

Kenny Snarzyk, one third of St. Louis sludge doom metal titan Fister, sat down to give us some damn good answers about the music, the artwork, the rise of vinyl and cassettes. We want to sincerely thank Kenny for taking time to do this, not to mention how quickly. And if the music playing in the background isn't enough to convince you how awesome this band is, I don't know what will. Oh, and about that name...

Friday, June 8, 2012

It's getting easier and easier to refer as a band as being "ambient" in some way, though the word itself seems to have lost all meaning. Tombs, a Chinese band who are identified as "ambient black metal" seem to be anything but. Their new EP, "鳳凰絕," which translates to "phoenix will be dead," is a singular song that incorporates a whirlwind of genre influences, from black to doom. A single track encompasses the entire EP, with this twenty four minute piece broken down into several different, but clearly distinct passages.Whether or not they fit together, or flow as one cohesive piece is another story entirely.

A softly repeated clean guitar riff forms an extended intro to "鳳凰絕/百合," a beautiful piece of minimalist work that shows off the true draw of simplicity. As the full band enters, you don't lose that sense of sorrow, or darkened melody. Instead, they build upon it, adding layers and forming a more solid and defined sound. But with this addition comes a vocal track that does, at times, lessen the impact of the instrumental. A poorly recorded set of screeches and howls forms the vocal track, a choice that seems odd given the style of music being played at this moment. As the sound descends into a more chaotic black metal assault, it all starts to make sense. Now that harsh screams of pain fit in, but the complexity and depth of sound has vanished. What you are left with is a jumbled mess of riffs, drums, and growls that meld together in a brick of distortion.

It is here that the production faults come to light, with a very raw mix that seems to give off the notion that this was recorded inside a dumpster. Every passing scream and riff crackles through your speakers, without a single distinct note to be heard. Yes, the machine gun snares are audible, and punishing, but their constant roll is all you can discern. Even as the song takes a foot off the gas pedal and reverts back to a ore simplistic and singular sound, there is a noticeable difference in the tone. The tempo slows, and the vocals take on a deathly sound in small doses, an inherent sense of evil lurking. That quickly shifts to a sullen mood complete with a passing thunder storm, one that seems to give the perfect opportunity to fade out, and return renewed. Somewhere in that storm, the band find their inner doom, coming back to life with a heavier sound, a more rigid one. This is where the band shines, despite poor audio quality. A simple guitar melody repeats, but carries the song forward, while a screeching vocal does wonders when placed properly. All of this gives way to silence, followed by a drone outro of distorted guitar chords, echoing into nothing.

Much like Pest Productions labelmates Vallendusk, Tomb is not a one trick pony. Throughout the course of twenty four minutes, they give you a different styles, different tones, different tempos. However, thanks to a poor bit of recording, some of those subtleties go by the wayside, lost in a sea of crackles and pops. No, the mix isn't completely to blame for their shortcomings, but it takes some of the stronger points on the album, and knocks them down to mere garage band status. The upside is there, but it is going to take a trip back to the drawing board to make "鳳凰絕" into something the world is ready to hear.

Thursday, June 7, 2012

Winterthrone is a symphonic black metal band from Germany that has a lot of hit or miss tracks in their new album, entitled "The Godslayer." The go about "black metal quality" the wrong way. Instead of the instruments being recorded horribly on purpose they have a really shitty mixing quality. The panning and levels on the album make things very difficult to hear anything. Not all of the tracks are this however. And when you are able to hear what's going on, Winterthrone doesn't sound so bad after all.

The album opens with atmospheric wind sound effects and devilish spoken word in "The Grave Of Thousand Souls." After about a minute of the intro comes a violent wave of guitar riffs and quick double bass drumming. Unfortunately the recording is horribly mixed. It's tough to hear the actually chords over the overly loud cymbals and snares. It gets even worse when the vocals come in. They consist of these wretched black metal screams that are meshed together so closely that it's hard to make out any of the lyrics. Meanwhile the cymbals are still shattering much higher than the rest of the mix. It's tough to get through this eight minute track. You do manage to come across a wild piano and guitar solo that sound pretty decent. It's still kind of hard to tell what's going on exactly though. If the song was mixed and mastered better i think the track would be awesome.

"Cult Of Hate" opens with some eerie keyboards along with haunting sound effects in the background. The mix begins to get a little better starting with the drums. All of the drums sound a lot more evenly panned and leveled. The vocals still have that muffled sound almost as if they placed a filter on the screams. The guitars pound you into the ground with melodic lead riffs and back up chugging patterns. Meanwhile the keyboards take over the background with symphonic strings. It's becoming clear that the vocals are the only down side to this album. The longest track on the album is "The Throne" which runs for just under ten minutes long. It contains on the symphonic black metal sounds that you would expect in an album like this however the vocals just don't get any better. The screechy vocals are very unclear and muddy throughout the whole track. Also the structure of the song begins to get boring after the first four minutes as it seems that they just keep playing the same riffs. The symphonic strings keep the track going and they seem to be the only thing really changing. After about six minutes in you'll find yourself listening for the keyboards only as they are the only thing that stay entertaining.

The only song that actually really enjoyed is the final track entitled "Triumph And Emptiness." The structure is very complex and is constantly changing melodies and styles throughout the nine minutes and 45 seconds. By this point your just used to the vocals. Listen closely to the guitar riffs as they throw punishing riff after punishing riff at you from all directions. Meanwhile the drum fills are absolutely phenomenal. Double bass pedal drumming and constant snares and cymbals knock you out of your chair with thunderous rolls. Epic orchestral instruments pull you in with dark gloomy melodies and string. You'll find yourself hitting the repeat button on this track for sure.

Overall, "The Godslayer" has a lot more downs than it has ups. The quality of the mix in each track go from horrible to decent and back to horrible again. Some of the guitar riffs and song structures have potential but the vocals just bring them down. The only thing that really kept this album alive at all are the epic strings and orchestrated instruments that consumed most of the background. Also he double bass pedal patterns connected well. They just need to be mixed better. I would say to check out the last track if anything and see what you think. Definitely keep an eye on the band though. Winterthrone carries much potential.

Wednesday, June 6, 2012

Italy's one and only Gamma Ray tribute band, Deimos, is ready to do more than cover versions of classic tracks. This four piece from the north spent three years honing their skills, before finally commencing the work on an EP of original material. With the help of some friends, including metal guitarist extraordinaire Chris Caffery and vocalist Raffo Albanese of From The Depth, their dream became a reality. With five tracks of pure progressive power metal, with a splash of 80's hair metal influence, "TerminUs" signifies the arrival of Deimos.

There is something about "Wargreed" that conveys a classic metal style, be it the duel guitar attack of the rolling bass line. Singer Antonio Pecere, most notably of Crimson Dawn, provides the vocal tracks with a style that could be labeled as a subdued Rob Halford. His range is impressive, even when the mix is not. The guitar playing is top notch, and you would be hard pressed to find a missed beat from the rhythm section. The sounds of war serve as a segue from first to second, with "Gates Of Babylon" giving you a massive opening riff. The band hits their stride here, with a pounding drum beat to match the intensity of the guitars. Pecere is at his best, commanding the room with every note. Every element comes together, with a collage of spoken words layered atop a smooth bass line. Caffery cuts in, taking the lead with a ridiculous guitar solo. Not to be outdone, the band kicks things into high gear and shreds along, hitting every possible note along the way. Potential meets performance.

The raucous opening to "Vultures Lead Our Way" only helps to build the momentum gathered. Once again, a classic metal style comes through clearly in the building riffs. It would be impossible to ignore the consistency at play in the drumming, with Massimo Goletti pounding the skins in a way that demands, at minimum, a slow head nod. Somewhere amidst all of this, they strike the perfect balance between heavy aggression and flowing melody. As things slow down for "Locked Heart," you find yourself awash in a staggering duet between Pecere and Paola Gemma. Her voice is such a stark contrast to what the first three tracks have given you, that it leaves you a puddle of your former self. But, fear not, because this is not a sappy ballad to skip. Instead, they take their proven formula and add a second, enchanting voice to the mix. Together, they form a duo that is not to be trifled with. Clean guitars and bass are a solid foundation to build on, growing in sound and scope as the track progresses. A true sign of the talent at play here is taking a track that tops seven minutes, and making it fly by like a song of half the length, and half the content.

And, as a fitting finale to their debut, "Stonetears" sees the band with From The Depth frontman Raffo Albanese, who has a voice all his own. It's as if the old adage of "saving the best for last" has come to life, with every aspect of this track blowing you down. Albanese gives a mind blowing performance, but only with the aid of some of the most energetic guitar work the band could muster. There is not time to dial back the speed and power of this one, as it delivers fill after fill, roll after roll for a solid four minutes of over the top metal action. There are closing tracks that guide you gently to the finish line, and there are those that push you out a seventh story window. This is the latter, a closer of best kind, one that leaves you wanting so much more.

I have long been of the opinion that cover bands are the bane of the music world, giving anyone who can pick up an instrument a way to capitalize on the work of others. So, seeing a tribute band emerge as a true powerhouse in their field of expertise is refreshing, not to mention impressive. Deimos can go on paying homage to Gamma Ray, a band that truly deserves the respect of those who have heard them. But it is time to forge their own path, create their own identity. If the five songs on "TerminUs" are any indication as to what the future holds, no one will ever refer to these guys in the context of any other band again. Deimos may end up with a few tribute bands of their own.

Tuesday, June 5, 2012

It's time to turn up those speakers kids. Fear Factory is back with their eighth studio album, entitled "The Industrialist." The album contains ten intense tracks of nothing but monstrous riffs and violent vocals. The drumming alone is a real rush when blasted through a pair of sub woofers. The double bass pedal patterns will have you up and moshing in your own living room.

The album starts out with "The Industrialist," which opens with eerie spoken word and dark keyboards in the background. Drums begin to rumble as distorted guitars start to surround you. Next thing you know you're in a whirl chaos. Massive amounts of double bass pedal drums and violent chugging guitars thrash at you. Lead vocalist Burton C. Bell comes in with beastly shouting vocals that will knock you off your feet. Insane double bass pedal continue to pound away at you as your beaten into the ground by thunderous guitar riffs. This track will definitely have you up and thrashing immediately. The violence doesn't stop there. "Recharger" throws more relentless chugging guitar riffs at you while Bell destroys you with reckless lyrics. The refrain has a catchy ring to as as Bell switches over to clean singing. His voice echoes high over the jack hammering guitars surrounding you with dark beauty. The verse become more and more vicious as vocals turn into deeper growls at certain points. Your definitely going to have your devil horns up and thrashing to this beast.

"New Messiah" is the heart and soul of this album as it pulverizes you with monstrous waves of guitar riffs and thumping bass patterns. Relentless double bass pedal drumming rumbles heavily underneath you while cymbals crash from all directions. The thing that really completes this track is the clean vocals in the refrain and its memorable melodies that become stuck in your head for days. It holds a real beauty and the beast feel to the mix and will have you hitting the replay button multiple times.

"God Eater" and "Depraved Mind Murder" remind you that Fear Factory is still an industrial band which I personally am not a big fan of the genre but if any band can pull it off well it's this one. Futuristic sound effects and synths take over the background as wild chugging guitars lead you to the chorus. "Depraved Mind Murder" also has a catchy melody that will have you humming along with the melody. "Difference Engine" goes a little overboard with the industrial sound effects in the beginning of the track but its still definitely worth it to check out. The exploding guitar riffs will have you addicted the entire time while Bell steps in with more monstrous vocals. Meanwhile booming drum rolls show off with reckless double bass blast beats and complex fills.

"The Industrialist" is a solid industrial metal album that delivers everything and more. Fear Factory has been around for quite some time putting out solid albums that hold a unique sound from each other. This album is definitely worth checking out. There's a good mix of solos, thrashing guitar riffs, and relentless double bass pedals that are sure to have you hooked.

Monday, June 4, 2012

Like it or not, black metal is a genre that will never fade away. It will grow, it will change, but it will always be a large, proportionate chunk of metal as a whole. Whether or not you enjoy it is key to your discovery of new bands, with thousands of raw black metal projects cropping up every day. In the case of Vallendusk, a four piece band from Indonesia, their love of all things blackened isn't a passing fancy. They are crafting their own version of the classic sound, with little bits and pieces borrowed from folk and post styles. But on their self titled debut EP, the boys from Jakarta can't seem to make all the moving pieces work together.

Sweet, almost sullen clean guitars are the first thing to cross the sound threshold on "Antimatter," a soothing opening that is pleasant, albeit short. Even when the true assault begins, there is still a hint of melody to the guitars. Vocally, you aren't going to get anything overly surprising, with the standard black metal screams and screeches covering everything. The true dynamic pairing here is in the rhythm section and guitar work. Drumming is key, with high speed kick/snare/cymbal combinations running throughout. But somewhere out of left field comes an interlude that would be a suitable lullaby, light and airy in nature. It puts you in this uneasy state of rest, before a thunderous return to distortion snaps you back to a waking state. The problem that comes into play is that it becomes all too easy to separate the blackened eruptions from the delicate interludes, making them almost feel tacked on, despite the beautiful touches.

If you find yourself looking for the more melodic side of the black metal genre, then songs like "Foghymn" have a lot to offer you, though sifting through a nearly seven minute run time can be a daunting task. Hidden within each changing guitar pattern is a distinct flow, one that is barely audible when paired with the coarse vocal style that black metal tends to demand. But in the instrumental passages, be they few and far between, you can find that extra bit of musicianship. Yes, you may hear faint folk tones, or even elements of the ever popular shoegaze genre that Alcest has become known for. In these stretches, Vallendusk is at their very best, giving something that most traditional outfits wouldn't dare touch. They seamlessly combine the rolling double kicks with a haze of guitar distortion and atmospheric riffs.

As with the others, "The Wooden Sphere" begins softly, but does carry the proverbial big stick. This track represents a welcomed shift in style, with the song playing out in a more folk inspired way. What you are greeted with is blackened folk, instead of straightforward grind of the former. The percussion might not have much lateral movement, something it could definitely use going forward, but the guitars carry the weight of the song atop wave after wave of melodic, yet heavily distorted, riffs. Hell, bits and pieces of this finale descend into pure post rock, with a bass groove that may get your head swaying from side to side. Wild, jazz style drums cut in, and take you into a new realm. The instrumental lifts the track to new heights, enough to elevate the one dimensional vocal line. isolate the final four minutes of this track, and you have a cross section of what the band is capable of.

Fans of black metal will always say that its raw nature is what makes the music endearing, a style that will go on forever. Those on the outside looking in will never totally see the merit. And, for a new band like Vallendusk, falling squarely into that arena may be a disservice to the band's sound. There are flashes of brilliance in this release, little touches here and there that make this a much deeper album than it may initially appear to be. But, does five minutes of a twenty five minute album equate to a purchase, or merely a passing listen? With some fine tuning, and a little polish, Vallendusk may be able to shine through the tar that is the black metal scene.

Sunday, June 3, 2012

We seem to be coming up to the halfway point of the year, with July only four slim weeks away. So, we are nearing the final push for our first half "Top 10" lists. With another strong week, it will soon get even more difficult to narrow down the candidates. This week, Darrell adds Sam Locke and Nightmare to his ballot, while Justin gets down and dirty with the latest Burzum album from Varg Vikernes, and Greek outfit Litrosis. Our final Band Of The Month for the first half has arrived, and they can, and will, knock your teeth out.

Saturday, June 2, 2012

One half of the Scottish powerhouse The Massacre Cave, Ben and Joe, sat down to wax poetic about all things near and far. They tell us about their home, their music, and give us some major laughs along the way. These two brothers sure do put the "i" in Eigg.

Note: Normally we would edit their audio together with ours, so it sounds like a brilliantly executed Q & A. But this time, their audio was too good to touch. This is unedited and untouched, just cut into YouTube approved pieces. Maybe we should have been called Sorrow Enema after all...

Friday, June 1, 2012

The veteran doom metal band, Candlemass, is back with a new album, entitled "Psalms For The Dead." This is the bands eleventh full length studio album following their 2009 album, "Death Magic Doom." The album is nine tracks long and delivers nothing but power drum fills, aggressive vocals, and depressive guitar riffs.

The album starts out with pulverizing guitar riffs in "Prophet." Dominating chugging chords rush through you as you find yourself bashing your head to the beat immediately. Exploding drum rolls come rumbling in with quick double bass pedal patterns and shattering cymbals. Relentless snares pound you into the ground as you continue to drown is massive guitar riffs. Aggressive clean vocals take over the verses. They echo high above the melodic guitars and bass carrying you straight to the chorus. The refrain contains addictive lyrics with a catchy melody and wicked guitar solos that follow afterwards. You'll also come across another wild guitar solo towards the end of the track that will absolutely blow your mind.

Slow thumping snares open up "The Sound Of Dying Demons" as devilish guitar riffs take over. The verses fade in slowly with a haunting delivery. Meanwhile complex drum rolls take over the background. Toms and high hats smash from all directions. The refrain comes in soon after as lead vocalist, Robert Lowe, comes in with ghostly lyrics that send chills down your spine. The chorus holds a catchy yet evil tone to it leaving you completely hooked to the track. Gloomy synth sound effects surround you added a very demonic feel to the mix. You'll definitely find yourself playing this song over and over again. "Waterwitch" also has that muddy guitar intro that "The Sound Of Dying Demons" had in the beginning. This definitely has that epic doom sound that they are known for. The verses are filled with depressive vocals as the tempo runs slow deep chugging guitar riffs. The drum fills continue to destroy you with detailed rolls. Later you're hit with a deadly guitar solo that drops notes on your from all angles.

Tracks like "The Lights Of Thebe" and "Psalms For The Dead" really show off Lowe's vocals as some of them could pass as straight power metal vocals. Hit has no problem hitting both high and low octaves and can hold a note for quite some time. The verses in "Psalms For The Dead" are delivered in a very soothing manor. Meanwhile bone crushing riffs come through and completely knock you on your ass. The structure keeps you guessing as to whats coming up next. "The Killing Of The Sun" adds a little bit of a groove sound to the album with its catchy upbeat guitar riffs and thumping bass lines. Basic kick snare patterns fill the air with crashing cymbals as Lowe throws some aggressive vocals at you.

The final track on the album, entitled "Black As Time," opens with a short speech defining the word "time" as he rambles on about how time is black. After this minute introduction comes a killing wave of monstrous guitar riffs that blast away with booming drum rolls. Devilish chugging guitars take over as the lyrics "Time is black" echo over and over as more beastly guitars drop in. Later your hit with another murderous guitar solo that absolutely destroys the musical scales. The final two minutes pick up with fast pace drums and guitars as Lowe steps in with high clean vocals that soar through the air with catchy melodies. This final track definitely concludes the album with a bang and will leave you begging for more.

You'll find yourself hitting the replay button as soon as "Psalms For The Dead" comes to an end. It has that addicting effect where you just have to hear it again. Candlemass has really stepped up with this album showing that not only are they still good but that they're getting better with every new album. Definitely check this album out. You won't be disappointed.